How to get rid of unwanted reflections on a wooden surface?

goinggreynow

goinggreynow

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Hi everyone.
I have recently purchased my first flash gun and I am only just starting to learn how to use it.
I need to photograph some wood sculptures, but am having trouble getting rid of unwanted reflections (the sculptures are polished wood & all have curved surface areas. Changing my position relative to the sculpture doesn't seem to work!). So far, I've tried bouncing the flash off the ceiling & diffusing the flash output and although both are much better than firing the flash directly at the subject, they still do not give me the result I'm looking for. I've used both e-ttl and manual settings.
I have never owned a CPL, but have read a few articles suggesting that this might work.
Does anyone have any experience of using a CPL with a flashgun & is this combination likely to solve my problem?
Or is it a case of needing to purchase some “professional type” lighting kit?
Thanks in advance.
 
Hi,
Have already taken photos with no flash (indoors, kitchen table, plenty of non-direct sun light, etc), but results just seem dull & flat. Hence the reason for trying to introduce some artificial light.
Thanks for your comment.
 
There are 2 factors at play here...
1. The size of the light source
2. The angle of the light

The size of the light source matters because every light creates a specular reflection (a reflection of the light) on the subject. Small light sources create a small, very bright reflection that's often unacceptable. The answer is for the light to be much bigger relative to the size of the subject, which means that you generally need a softbox, umbrella or silk to make it physically much bigger, and to place it very close to the subject. large light sources create what we call diffused specular highlights - they are big but nowhere near as bright, and you can see through them to the subject itself. Light bounced from a ceiling takes care of this problem but the angle is usually wrong, resulting in a flat, boring shot.

The angle of the light is important, partly because the right angle makes the shot much more interesting but also because the basic law of physics that "The angle of incidence equals the angle of reflectance" can be used to avoid all unwanted reflections if the surface is flat (and it helps too even if it's a curved surface). Position the light where it will bounce off the surface and the light will go off at (the same) angle, without bouncing back towards the lens.

Both of these techniques involve moving your flash away from the camera. A hotshoe flash, used off camera, will do the job - it's just easier with studio flash
 
corbystock said:
yeah, what Garry said :D also i think i read somewhere you can spray something on to help, no idea what it was though, perhaps google it ( or Garry it ;) )
Click to expand...

Dulling spray, which wipes off well, or hairspray (which doesn't):'(
But the real answer is to get the lighting right, so that a reflective surface still looks attractive but not distracting. Dulling spray just makes it look... dull
 
I tend to use a polarizer and photoshop, if that doesn't work, so you are thinking along the right lines.
 
Shiny objects are very difficult, but you need both reflections and shadows to show the shape and surface texture.

I think the key part of Garry's post is 'angle of incidence equals angle of reflection' - basically light bounces off a shiny surface at the same angle it hits it, like a snooker ball off the cushion.

I also think it is misleading to talk about 'specular' reflections here, which are technically reflections of the light source whereas what is probably happening here is that there are reflections coming from light-toned objects everywhere. To see where the reflections are coming from, hold a sheet of white paper close to the subject, around the sides and behind.

To photograph shiny objects you sometimes need to enclose them in a 'light tent' to get full control, like one of those ebay style light cubes for products. Then put pieces of black card strategically placed around the sides so that they reflect off the subject to show the shape.
 
Many thanks for all replies so far.
Although the surfaces of the wooden sculptures can often reflect ambient light, my main problem does seem to be when I try to use a flashgun.
Given this, do you think that my best option would be to try a "light tent" with diffused flash as my light source or should I acquire a "softbox" for the flash and go "off camera" with a cord?
Thanks
 
HoppyUK said:
I also think it is misleading to talk about 'specular' reflections here, which are technically reflections of the light source whereas what is probably happening here is that there are reflections coming from light-toned objects everywhere. To see where the reflections are coming from, hold a sheet of white paper close to the subject, around the sides and behind.
Click to expand...

Up to a point I agree, because of course there can be reflections of objects as well as specular reflections - but the way I read the post is that the problem is specular reflections.
And of course, there can be reflections of room lights too, when a low powered hotshoe flash is being used - but these are also specular reflections
Although the surfaces of the wooden sculptures can often reflect ambient light, my main problem does seem to be when I try to use a flashgun.
Given this, do you think that my best option would be to try a "light tent" with diffused flash as my light source or should I acquire a "softbox" for the flash and go "off camera" with a cord
Click to expand...
Both methods will work, a light tent will be easier but going off camera with a softbox or another large diffuser will make it possible to get much better results
 
goinggreynow said:
Many thanks for all replies so far.
Although the surfaces of the wooden sculptures can often reflect ambient light, my main problem does seem to be when I try to use a flashgun.
Given this, do you think that my best option would be to try a "light tent" with diffused flash as my light source or should I acquire a "softbox" for the flash and go "off camera" with a cord?
Thanks
Click to expand...

It depends on the subject. We can only guess at exactly what it's like.

I've got some polished wood statues that I would shoot with a big softbox as the main light, but with a lot of bits of paper/card strategically placed around it to create the right reflections, and block off any distracting ones. Probably some black card too, to create some shadows.

On the other hand, I once had to photograph a polished silver tea service and the only way to get a decent result with that was to fully enclose it in a light tent (made of tracing/greasproof paper) with strips of black paper carefully taped inside to pick out the shape. The fact that there was a black spot on everything where the lens poked through was very annoying, but nobody seemed to mind :) That was film of course, not a problem with digital to wipe it out, which might be a good solution for cleaning things up if you can't get the lighting just so.
 
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